Click one of the Browse This Collection buttons at the right for a complete listing of the contents of this collection.

Recent Submissions

Harper, James
Northey, Janet
2015-01-14T16:00:10Z
2015-01-14
http://hdl.handle.net/1794/18753
This thesis examines the power of the sober costume, or black, minimally ornamented dress, in portraits of Elizabethan female subjects. Current scholarship on the portraiture of Elizabethan women pays more attention to extravagant costumes. The history of material culture has emphasized the importance of ornament and color in the costumes of Elizabethan era elites; these qualities denoted status. Nevertheless, women of different and distinct classes were often depicted in sober garments, signifying the pervasiveness of the costume. This fact is evident in the portraits of three different women from three different classes: Bess of Hardwick from the courtly nobility, Joyce Frankland from the urban elite, and the royal Queen Elizabeth I. This thesis introduces the sober costume for Elizabethan women and argues that while its connotation is complex and multifaceted, sober costume transcended social boundaries to represent power and autonomy.
en_US
University of Oregon
All Rights Reserved.
The Power of Sobriety
Electronic Thesis or Dissertation
2017-01-14
M.A.
masters
Department of the History of Art and Architecture
University of Oregon

Cheng, Joyce
Szumita, Lauren
2015-01-14T15:59:07Z
2015-01-14T15:59:07Z
2015-01-14
http://hdl.handle.net/1794/18740
Trained as an architect shortly before becoming a photographer of urban spaces, Italian photographer Gabriele Basilico (1944-2013) is celebrated for his work on the city in transition. Beginning in 1978, Basilico refrained from photographing people and turned his attention to the architectural structures that make up a city, an approach that would define the remainder of his career. His focus on architecture and urban landscapes places Basilico in the realm of the "new landscape photography" in Italy, which is recognized for depicting previously overlooked areas of the city, such as defunct industrial sites, with renewed interest.
This thesis investigates three seminal works in Basilico's early career that secure his position in the new landscape photography. I argue that he maintains an intentional subjectivity, an intimate connection with his subject, which manifests itself through a humanistic or anthropomorphic presence in his photographs, articulating the true essence of his urban subjects.
en_US
University of Oregon
All Rights Reserved.
Toward a New Landscape: The Architectural Photography of Gabriele Basilico, 1978-1984
Electronic Thesis or Dissertation
M.A.
masters
Department of the History of Art and Architecture
University of Oregon

Howell, Ocean
Hwang, Sarah
2015-01-14T15:56:05Z
2015-01-14T15:56:05Z
2015-01-14
http://hdl.handle.net/1794/18704
This thesis traces the transformation of graffiti as it travels from the street to the art institution by closely examining the graffiti and installations of Barry McGee ("Twist"). As a graffitist-turned-artist, McGee looked to his environment and experiences for his art, incorporating the language of graffiti into his installations. They exhibit what I describe as his ethnography of graffiti because he creates them from his unique position as a graffiti writer, representing graffiti as both an aesthetic expression and established youth culture. In order to explain this re-mediation of graffiti, the thesis aligns McGee's works with the sculptural tableaus of Edward Kienholz to emphasize his use of the narrative to bring the audience into both the aesthetic and the social world of graffiti.
en_US
University of Oregon
All Rights Reserved.
Barry McGee
graffiti
San Francisco
street art
Twist
Between Indoor and Outdoor: The Graffiti and Installations of Barry McGee ("Twist")
Electronic Thesis or Dissertation
M.A.
masters
Department of the History of Art and Architecture
University of Oregon

Lin, Jenny
Kim, Gina
2014-10-17T16:15:35Z
2014-10-17
http://hdl.handle.net/1794/18530
This thesis aims to reexamine images of Korean women as signs that represent the intertwined imperial and patriarchal masculine desires as depicted in the Female Figure Paintings of Korean artist Yi Yu-tae (1916-1999): Women: Wisdom, Impression, Sentiment (1943) and A Pair of Figures: Rhyme and Research (1944). Existing interpretations of both works are problematic because they see the depictions of women in the paintings as representative of Korean women in 1940s. By investigating the Pacific War time gender hegemonies, like the "Wise Mother, Good Wife" rhetoric that opposed that of the "New Woman," and exploring Japanese Imperial Orientalism towards Korea, this study will provide an alternative reading of Yi's two Female Figure Paintings. By demonstrating how male psyches were projected on women during this period of Korean history, this thesis aims to offer a feminist understanding of Yi's images of women.
en_US
University of Oregon
All Rights Reserved.
Female Figure Paintings
Gender and Art
Joseon Art Exhibition
Korean Art
War Propaganda Art
Yi Yu-tae
Visualizing Colonial Beauty: Female Figure Paintings of Yi Yu-tae, 1943-1944
Electronic Thesis or Dissertation
2016-10-17
M.A.
masters
Department of the History of Art and Architecture
University of Oregon

Narath, Albert
Cekander, Megan
2014-10-17T16:15:30Z
2014-10-17T16:15:30Z
2014-10-17
http://hdl.handle.net/1794/18529
My thesis examines how artists Christo and Jeanne-Claude appropriated the oil drum as a charged medium when considering this object's various cultural connotations. As most scholarship have focused on the husband-and-wife team's artwork involving fabric, this project provides an alternate discourse by analyzing their early barrel works from 1958-1962. During these years, Christo's artistic development established his interest in using the barrel as reoccurring medium throughout his oeuvre as well as his desire to create large-scale works of public art with his partner, Jeanne-Claude. While in Paris, Christo found the oil drum to be a cheap and accessible working material for many of his wrapped sculptures. Yet its inherent volume and ability to stack led to his experimentations with installation, cumulating in he and Jeanne-Claude's first collaboration. Beyond the barrel's economic associations, together they began to examine how it could take on larger cultural contexts, especially the political.
en_US
University of Oregon
All Rights Reserved.
Beyond Fabric: The Early Barrel Works of Christo and Jeanne-Claude, 1958-1962
Electronic Thesis or Dissertation
M.A.
masters
Department of the History of Art and Architecture
University of Oregon